Kylie Minogue certainly knows her way around an infectious dance pop bop. Look no further than the wild and campy "Padam Padam" — the lead single to her upbeat new album Tension, which arrives Sept. 22. 

It's the song of the summer that a large segment of Americans didn't even know about. In the U.S., the song reached No. 7 on Billboard's Hot Dance/Electronic chart. In the U.K., it was a No. 1 pop hit that the radio wouldn't play — a move that the song's writers, and Kylie herself, consider to be ageist (and sexist, because they do play David Guetta, who is also 55).

Yet when "Padam Padam" dropped this spring, it was an immediate hit within the LGBTQ+ community. "Padam" became a greeting, a verb, an adjective, and the inspiration for many, many memes.

A select handful of shimmering pop stars from every generation are adopted by the LGBTQ+ community (among them, Grace Jones, Cher and Beyoncé), and Kylie has maintained her status as a pop queen and gay icon for decades. It's something Kylie doesn’t take for granted, and she is deeply appreciative of the loyal support of the gay community.

"It's hugely important to me and so touching," Kylie recently told GRAMMY.com when we asked what their support means to her. "It's very genuine — long-standing mutual respect, support and love."

The second lead single and title track, "Tension," is another sexy dance pop banger, with a joyful piano house tilt. On it, she confidently encourages her lover to make her feel good while simultaneously reminding the world of her popstar status: "I'm a star babe-babe-babe / Do this all day-day-day."

The two lead singles showcase the vibe of the playful, upbeat album. Yet Tension, Kylie explains, had no theme. Instead, the album offered a space to be free in the music-making process with her beloved regular collaborators, Biff Stannard and Duck Blackwell.

Tension follows 2020's DISCO, a glittering pandemic album dedicated to the dancefloor and the genre it’s named after. DISCO: Guest List Edition continued the funky shimmer with remixes with fellow disco-loving pop artists (who she's inspired) Jessie Ware and Dua Lipa, along with disco legend Gloria Gaynor and nu disco champ Purple Disco Machine.

Back in 1988, a 20-year-old Kylie released her eponymous debut album, featuring her debut global hit single "Locomotion." Since making that first big splash, she's remained dedicated to the art of dance pop, dropping an album every couple of years. Her eighth studio album, 2001's Fever, made synthy waves around the globe, and its lead single "Can't Get You Out of My Head" remains her most memorable song. Fever's equally catchy "Love At First Sight" and "Come Into My World" were nominated for Best Dance Recording at the 45th and 46th GRAMMY Awards, respectively.

For those who somehow forgot about Kylie, or only know her as the "Can't Get You Out of My Head" singer, or were born after 2001, it’s the perfect time to allow her nearly endless catalog of dance pop jams to padam into your heart. The sessions that led to Tension began as Kylie's personal sonic escape, and now she's offering those 11 playful tunes for us to move our bodies to and maybe even make our own.

Ahead of the Tension's release, GRAMMY.com caught up with the Australian pop queen about its music and how it came together. Sometimes, when you get a short interview slot with a pop star, they repeat canned answers or avoid offering up too many details. Not Kylie. She gave thorough and thoughtful answers, demonstrating her care and love for the music she makes, her fans, and pop music itself.

Tension is filled with upbeat songs about joy and pleasure. What was your vision for this project and how did the songs make you feel?

Initially, there wasn't a vision. [Chuckles.] I just really wanted to feel. This was early 2021, so, COVID's still present and there were these windows where I can go to my happy place and be in the studio with one of my favorite collaborators. And if nothing came of it professionally, we love each other and we love to make music together. There was a gentle meander into that space. Maybe a couple months after that, I agreed with my label that, "Okay, this is happening, we're gonna make an album."

My previous album [2020's DISCO] was made largely in lockdown. It's like wanting to run out into the field and just going, Yes, I want to start fresh. No more lockdown videos, none of that stuff. I really wanted new material, vibrancy. And we ended up getting it.

There was a point where we were talking about the album thematically having a kind of '80s entrance point, but it just wasn't hitting the mark so we abandoned all that. I think the turning point for the album was the decision that there's no theme — go in, have fun. My A&R said to me, almost as an aside, "Just go in, write songs. Do a Kylie song." We know kind of what that is, but actually doing it's another matter. 

And he said, "As long as it's not boring." That's actually not the worst advice. Yes, you want it to be amazing and moving, or escapism or whatever, but I think we can safely say that we did our best to make sure it's not boring.

It's quite eclectic. I think you can feel that [sense of] feeling liberated with not having a theme and not being afraid to self-reference, either — '80s, '90s, '00s. And I ended up in a good space personally at the end of this album. In a year and a half, a lot happens, so there's moments in the album that attest to that. A strong DNA of my music is, even if it's a challenging subject or emotion, it remains hopeful.

I love that. I was reading that the album was recorded over five days or so in an Airbnb.

Not all of it, but a really important chunk of it. [Biff Stannard has] a perfectly amazing basement studio in which many hits for various artists have been written. It's a pleasure to be there, but we really wanted to have our own writing camp. Because of his phobia of flying, we agreed, "Okay, we can do South of France. You can take the ferry." I can't tell you how many places I looked at online that didn't work. It just got too complicated, so we ended up going about 40 minutes from where he lives.

We achieved what we hoped we would achieve. It was so glorious. Me, Bick, Biff, Duck [Blackwell], Jon Green, and another engineer. We woke up and talked about music. We had breakfast and talked about music. It was just all day, amazing love and creativity. We all had this sensation that it was a special time. "Tension" and "Things We Do For Love" were written on the same day, so we were jumping from different genres, different feelings.

It would be a shame to not talk about "Padam Padam." The gay community went super hard for "Padam" and made it a pride anthem. What does having the support of the queer community and being celebrated as a gay icon mean to you?

It's hugely important to me and so touching. It's a difficult one to unpack — I'm always asked, "How did you become a gay icon?" I don't have the answer. I don't want the answer. It's very genuine — long-standing mutual respect, support and love. 

It came to me many, many years ago. I can only imagine that the community saw something in me that made sense to them. I mean, I've had my own kind of struggles when I was starting out of being accepted in my field, which is very different to one's sexuality. But yeah, they pretty much adopted me. 

I hope that for that community and beyond, I just want to say I am open-minded and I want people to be happy in themselves. That community needed support and still needs support. I'm here. And they padamed for me. 

I had another question about "Padam" — 

My favorite meme. 

Which one? 

I don't know. There's so many. 

When you first heard the demo for "Padam Padam" what did you think? What was your reaction? 

Love. Absolutely loved. I know where I was, where I was sitting, what I was doing. I was getting glammed up for something in Miami. When they're outside songs — separate to songs that I'm involved with writing — it's always an exciting moment. My A&R sends me something and says, "Hey, what do you think of this?" I have no idea what to expect. In that moment, there's before and after, if it's a good moment. 

So already the title was intriguing; I already knew the Édith Piaf song "Padam Padam." Straightaway, I was in. At first, I couldn't understand every lyric, so I listened again and was like that is really, really clever. I called Jamie straightaway, "Yes, yes. I love it. I think it's great on its own, but what's more, I think it’s perfect for me. When can I get my vocals on it?" And the rest, as they say, is history. 

The thing with "Padam" is that it fed itself, it just kind of powered itself. The closest it would remind me of is "Can't Get You Out Of My Head," where it just took off like a rocket. I'm almost like a bystander. "Oh, Padam? Where have you gone?" It's utterly enthralling to watch that unfold in front of my very eyes from day one to day two, and still happening now.

 Did you have any idea that it would be received in the way that it was? 

Who could predict that? Who would even dare to dream of that? I finally get TikTok. Yes, I've been slow but I finally am there. Honestly, it took all of us by surprise. And I think it's telling that now I think opening myself up to that community and having that relationship will be fruitful in the future and I hope to continue having fun with that. But I think in that initial moment, they decided — you know, the grand they. It was really organic. I don't think you can force that. It happened and I loved every second of it.

Korean Pop & Film Star D.O. Exceeds 'Expectation' On New EP

The 2024 Paris Olympics came to life today as the Parade of Nations glided along the Seine River for the opening ceremony. The opening spectacular featured musical performances from Lady Gaga, Celine Dion, and more. Earlier in the week, some of music’s biggest names were also spotted in the city for the Olympics, including Olympics special correspondent Snoop Dogg, BTS' Jin, Pharrell Williams, Tyla, Rosalía, and Ariana Grande.

Read More: When The GRAMMYs & Olympics Align: 7 Times Music's Biggest Night Met Global Sports Glory

Below, see a full breakdown of some of the special musical moments from the 2024 Paris Olympics opening ceremony.

In a grand entrance, Lady Gaga emerged behind a heart-shaped plume of feathers on the golden steps of Square Barye, captivating the audience with her cover of the French classic "Mon truc en plumes." Accompanied by cabaret-style background dancers, she flawlessly belted out the song, executed impressive choreography, and even played the piano.

Lady Gaga’s connection to the song is notable, as Zizi Jeanmarie, the original artist, starred in Cole Porter’s musical "Anything Goes," which was Lady Gaga’s debut jazz release.

"Although I am not a French artist, I have always felt a very special connection with French people and singing French music — I wanted nothing more than to create a performance that would warm the heart of France, celebrate French art and music, and on such a momentous occasion remind everyone of one of the most magical cities on earth — Paris," Lady Gaga shared on Instagram.

Celine Dion 

Closing out the ceremony with her first performance in four years since being diagnosed with stiff-person syndrome, Celine Dion delivered a stunning rendition of Edith Piaf’s everlasting classic, "L’Hymne à l’amour" from the Eiffel Tower. Her impressive vocals made it seem as though she had never left.

This performance marked Dion’s return to the Olympic stage; she previously performed "The Power of the Dream" with the Atlanta Symphony Orchestra and composer David Foster for the 1996 Olympics.

Axelle Saint-Cirel 

Performing the National Anthem is no small feat, yet French mezzo-soprano Axelle Saint-Cirel knocked it out of the park.

Dressed in a French-flag-inspired Dior gown, she delivered a stunning rendition of "La Marseillaise" from the roof of the Grand Palais, infusing the patriotic anthem with her own contemporary twist.

With the stirring lyrics, "To arms, citizens! Form your battalions. Let’s march, let’s march," Saint-Cirel brought the spirit of patriotism resonated powerfully throughout the city. 

Gojira 

Making history as the first metal band to perform at the Olympics Opening Ceremony is just one way Gojira made their mark at the event.

The French band took the stage at the Conciergerie, a historic site that once housed French kings during medieval times and later became a prison during the French Revolution, famously detaining Marie Antoinette – Creating a monumental moment as the first metal band to perform at the ceremony, but also stirring the pot as they used the chance to nod toward politics. 

Performing a revamped version of "Ah! Ça Ira," an anthem that grew popular during the French Revolution, the artists aren’t new to using their songs as a vehicle for political messages. The GRAMMY-nominated group are outspoken about issues concerning the environment, particularly with their song, "Amazonia," which called out the climate crisis in the Amazon Rainforest. Using music to spread awareness about political issues is about as metal as it gets. 

Aya Nakamura

Currently France’s most-streamed musician, Aya Nakamura went for gold in a striking metallic outfit as she took the stage alongside members of the French Republican Guard. As there were showstopping, blazing fireworks going off behind her, she performed two of her own hit songs, "Pookie" and "Djadja," then followed with renditions of Charles Aznavour’s "For Me Formidable" and "La Bohème." 

Although there was backlash regarding Nakamura’s suitability for performing at the ceremony, French President Emmanuel Macron dismissed the criticism. "She speaks to a good number of our fellow citizens and I think she is absolutely in her rightful place in an opening or closing ceremony," Macron told the Guardian.

Since Ice Spice first caught our attention two summers ago, she's been nothing short of a rap sensation. From viral hits like her breakout "Munch (Feelin' U)," to co-signs from Drake and Cardi B, to a Best New Artist nomination at the 2024 GRAMMYs, the Bronx native continues to build on her momentum — and now, she adds a debut album to her feats.

Poised to be one of the hottest drops of the summer, Y2K! expands on Ice Spice's nonchalant flow and showcases her versatility across 10 unabashedly fierce tracks. She dabbles in Jersey club on "Did It First," throws fiery lines on lead single "Think U the S— (Fart)," and follows the album's nostalgic title with an interpolation of an early '00s Sean Paul hit on "Gimmie a Light."

Y2K! also adds more star-studded features to Ice Spice's catalog, with Travis Scott, Gunna and Central Cee featuring on "Oh Shh...," "B— I'm Packin'," and "Did It First," respectively. At the helm is producer RiotUSA, Ice Spice's longtime friend-turned-collaborator who has had a hand in producing most of the rapper's music — proving that she's found her stride.

As you stream Ice Spice's new album, here are five key takeaways from her much-awaited debut, Y2K!.

Ice Spice is one of the few ladies holding down the New York drill scene on a mainstream level. She's particularly rooted in Bronx drill, a hip-hop subgenre known for its hard-hitting 808s, high-hats and synthesizers — and according to the sounds of Y2K!, it’s seemingly always going to be part of her artistry.

"It's always time to evolve and grow as an artist, so I'm not rushing to jump into another sound or rushing to do something different," Ice Spice told Apple Music of her tried-and-true musical style. 

While Y2K! may not be as drill-driven as her debut EP Like…?, the album further hints that Ice isn't ready to retire the sound anytime soon. The subgenre is the dominant force across the album's 10 tracks, and most evident in "Did It First," "Gimmie a Light" and "BB Belt." Even so, she continues her knack for putting her own flair on drill, bringing elements of trap and electronic music into bops like "Oh Shhh…" and "Think U the S— (Fart)."

Minus a few tunes, all of Ice Spice's songs start off with her signature "Stop playing with 'em, Riot" catchphrase — a direct nod to her right-hand man RiotUSA. Ice and Riot met while attending Purchase College in New York, and they've been making music together since 2021's "Bully Freestyle," which served as Ice's debut single. "As I was growing, she was growing, and we just kept it in-house and are growing together," Riot told Finals in a 2022 interview.

Riot produced every track on Like.. ? as well as "Barbie World," her GRAMMY-nominated Barbie soundtrack hit with Nicki Minaj. Their musical chemistry continues to shine on Y2K!, as Riot had a hand in each of the LP's 10 tracks.

In a surprising move, though, Ice doesn't just lean on Riot this time around. Synthetic, who worked on Lil Uzi Vert's GRAMMY-nominated "Just Wanna Rock," brings his Midas touch to "Think U the S—." Elsewhere, "B— I'm Packin'" is co-produced by Riot, Dj Heroin, and indie-pop duo Ojivolta, who earned a GRAMMY nomination in 2022 for their work on Kanye West's Donda. But even with others in the room, Riot's succinct-yet-boisterous beats paired with Ice's soft-spoken delivery once again prove to be the winning formula.

Named after Ice Spice's birthdate (January 1, 2000), her debut album celebrates all things Y2K, along with the music and colorful aesthetics that defined the exciting era. To drive home the album's throwback theme, Ice tapped iconic photographer David LaChapelle for the cover artwork, which features the emcee posing outside a graffiti-ridden subway station entrance. LaChapelle's vibrant, kitschy photoshoots of Mariah Carey, Lil' Kim, Britney Spears, and the Queen of Y2K Paris Hilton became synonymous with the turn of the millennium.

True to form, Y2K!'s penultimate song and second single "Gimmie a Light" borrows from Sean Paul's "Gimme the Light," which was virtually inescapable in 2002. "We really wanted to have a very authentic Y2K sample in there," Ice Spice said in a recent Apple Music Radio interview with Zane Lowe. Not only does the Sean Paul sample bring the nostalgia, but it displays Ice's willingness to adopt new sounds like dancehall on an otherwise drill-heavy LP.

Taking the Y2K vibes up another notch, album closer "TTYL," a reference to the acronym-based internet slang that ruled the AIM and texting culture of the early aughts. The song itself offers fans a peek insideIce's lavish and exhilarating lifestyle: "Five stars when I'm lunchin'/ Bad b—, so he munchin'/ Shoot a movie at Dunkin'/ I'm a brand, it's nothin.'"

Whether she's flaunting her sex appeal in "B— I'm Packin'" or demanding potential suitors to sign NDAs in "Plenty Sun," Ice exudes confidence from start to finish on Y2K!.

On the fiery standout track "Popa," Ice demonstrates she's in a league of her own: "They ain't want me to win, I was chosen/ That b— talkin' s—, she get poked in/ Tell her drop her pin, we ain't bowlin'/ Make them b—hes sick, I got motion." And just a few songs later, she fully declares it with "BB Belt": "Everybody be knowin' my name (Like)/ Just want the money, I don't want the fame (Like)/ And I'm different, they ain't in my lane."

For Ice, "baddie" status goes beyond one's physical attributes; it's a mindset she sells with her sassy delivery and IDGAF attitude.

In album opener "Phat Butt," Ice boasts about rocking Dolce & Gabbana, popping champagne, and being a four-time GRAMMY nominee: "Never lucky, I been blessed/ Queen said I'm the princess/ Been gettin' them big checks in a big house/ Havin' rich sex," she asserts.

Further down the track list, Ice Spice firmly stands in her place as rap's newest queen. In "BB Belt," she raps, "I get money, b—, I am a millionaire/ Walk in the party, everybody gon' stare/ If I ain't the one, why the f— am I here, hm?"

Between trekking across the globe for her first headlining tour and lighting up the Empire State Building orange as part of her Y2K! album rollout, Ice Spice shows no signs of slowing down. And as "BB Belt" alludes, her deal with 10K Projects/Capitol Records (she owns her masters and publishing) is further proof that she's the one calling the shots in her career.

Whatever Ice decides to do next, Y2K! stands as a victory lap; it shows her prowess as drill's latest superstar, but also proves she has the confidence to tackle new sounds. As she rapped in 2023's "Bikini Bottom," "How can I lose if I'm already chose?" Judging by her debut album, Ice Spice is determined to keep living that mantra.

July has graced us with a diverse array of new music from all genres, lighting up dance floors and speakers everywhere.

The last weekend of the month brings exciting new collaborations, including another iconic track from Calvin Harris and Ellie Goulding, as well as a fierce team-up from Paris Hilton and Meghan Trainor. Halsey and Muni Long offered a taste of their forthcoming projects, while Jordan Davis and Miranda Lambert each delivered fun new country tunes. 

In addition to fresh collabs and singles, there's a treasure trove of new albums to uncover. Highlights include Ice Spice's Y2K!, Rakim's G.O.D., Sam Tompkins' hi, my name is insecure, Wild Rivers' Never Better, Tigirlily Gold's Blonde, and kenzie's biting my tongue.

As you check out all the new music that dropped today, be sure you don't miss these 10 tracks and albums.

Although fans anticipated Machine Gun Kelly's next release to mark his return to hip-hop, no one seems to be complaining about "KellyRoll." Embracing the trend of venturing into the country genre, mgk teams up with fellow GRAMMY-nominated artist Jelly Roll on their newest track, "Lonely Road."

The genre-blending track interpolates John Denver's classic "Take Me Home, Country Roads." However, unlike Denver's sentimental ode to the simplicity of rural life, mgk and Jelly Roll reinterpret the track through the lens of romantic relationships that have come to a, well, lonely end.

As mgk revealed in an Instagram post, "Lonely Road" was a labor of love for both him and Jelly Roll. "We worked on 'Lonely Road' for 2 years, 8 different studios, 4 different countries, changed the key 4 times," he wrote. "We finally got it right."

In another interpolation special, Halsey samples not one but two classics in their latest single, "Lucky." The song's production features elements of Monica's 1999 hit "Angel of Mine," while the chorus flips Britney Spears' fan-favorite "Lucky" into a first-person narrative.

While Halsey has always been a transparent star, their next project is seemingly going to be even more honest than their previous releases. After first revealing their journey with lupus with the super-personal "The End" in June, "Lucky" further details their struggles: "And I told everybody I was fine for a whole damn year/ And that's the biggest lie of my career."

Though they haven't revealed a release date for their next project, Halsey referred to her next era as a "monumental moment in my life" in an Instagram post about the "Lucky" music video — hinting that it may just be their most powerful project yet.

Read More: Everything We Know About Halsey's New Album

Ahead of Paris Hilton's forthcoming album, Infinite Icon — her first in nearly 20 years — the multihyphenate unveiled another female-powered collaboration, this time with Meghan Trainor. Co-produced by Sia, "Chasin'" is a lively pop anthem about discovering self-worth in romantic relationships and finding the strength to walk away from toxicity.

"She is the sister I always needed and when she calls me sis, I die of happiness inside," Trainor told Rolling Stone about her relationship with Hilton. Coincidentally, Trainor first wrote the track with her brother, Ryan, but the pop star was waiting for the right collaborator to hop on the track — and Hilton was just that.

"We made something truly iconic together," Trainor added. "It was a bucket list dream come true for me."

A highly awaited return to music after eight years, Australian electro-pop duo Empire Of The Sun are back with their fourth studio album, Ask That God.

"This body of work represents the greatest shift in consciousness our world has ever seen and that's reflected in the music," says member Lord Littlemore in a press statement.

Like their previous work that transports listeners to a different universe, this album continues that tradition with trancey tracks like lead single "Changes" and the thumping title track. Ask That God offers a chance to reflect on the blend of reality and imagination, while also evoking the radiant energy of their past songs.

Dance music's collaborative powerhouse, Calvin Harris and Ellie Goulding, are back with another summer hit. Their latest track, "Free," marks the fourth collaboration between the duo — and like their past trilogy of hits, the two have another banger on their hands.

The track debuted earlier this month at Harris' show in Ibiza, where Goulding made a surprise appearance to perform "Free" live. With Harris delivering an infectious uptempo house beat and Goulding's silky vocals elevating the track, "Free" proves that the pair still have plenty of musical chemistry left.

Post Malone's transition into country music has been anything but slow; in fact, the artist went full-throttle into the genre. The  New York-born, Texas-raised star embraced his new country era with collaborations alongside some of the genre's biggest superstars, like Morgan Wallen and Blake Shelton. Continuing this momentum as he gets closer to releasing F-1 Trillion, Post Malone teams up with Luke Combs for the new track "Guy For That."

The catchy collaboration tells the story of a relationship that has faded, where the protagonist knows someone who can fix almost anything, except for a broken heart. It's an upbeat breakup song that, like Post's previous F-1 Trillion releases, can get any party going — especially one in Nashville, as Malone and Combs did in the track's music video.

Just one month after Surfaces released their latest album, good morning, the duo's Forrest Frank unveiled his own project, CHILD OF GOD — his debut full-length Christian album. Among several features on the LP, one of the standouts is with GRAMMY-winning artist Tori Kelly on the track "Miracle Worker."

Over a plucky electric guitar and lo-fi beats, Frank and Kelly trade verses before joining for the second chorus. Their impassioned vocals elevate the song's hopeful prayer, "Miracle Worker make me new."

Their collaboration arrives just before both artists hit the road for their respective tours. Frank kicks his U.S. trek off in Charlotte, North Carolina on July 31, and Kelly starts her world tour in Taipei, Taiwan on Aug. 17.

Since their debut in 2022 with "Tippy Toes," Japanese girl group XG has been making waves and showing no signs of slowing down. With their first mini album released in 2023 and now their latest single, "SOMETHING AIN'T RIGHT," the group continues to rise with their distinctive visuals and infectious hits.

The track features a nostalgic rhythm reminiscent of early 90s R&B, showcasing the unique personalities of each member. As an uptempo dance track, it's designed to resonate with listeners from all across the globe.

"SOMETHING AIN'T RIGHT" also serves as the lead single for XG's upcoming second mini album, set to release later this year.

For nearly 15 years, Mustard has been a go-to producer for some of rap's biggest names, from Gucci Mane to Travis Scott. On the heels of earning his first Billboard Hot 100 chart-topper as a producer with Kendrick Lamar's "Not Like Us," he's back with his own collaboration-filled project.

Faith of a Mustard Seed features a robust 14-song track list with contributions from Vince Staples, Lil Yachty, Charlie Wilson, and more. The LP marks Mustard's fourth studio album, and first since 2019's Perfect Ten.

In an interview with Billboard, Mustard shared that the album's title is an ode to late rapper Nipsey Hussle, who suggested the title during one of their final conversations before his untimely death in 2019. And once "Not Like Us" hit No. 1, Mustard knew it was time to release the long-in-the-making album.

Faith has been a driving force behind Alabama band the Red Clay Strays, both in their music and in their journey to stardom. With their new album, Made By These Moments, the quintet leans into that foundation even further, giving listeners a look into their walk with God and road to redemption — all of which has helped them become one of country music's most exciting breakout acts.

Despite the divine influence, lead singer Brandon Coleman insists they're not a Christian band. And their music proves that: The Strays' sound delves as much into high-flying Southern rock and gritty delta blues as it does country, sounding like Waylon Jennings or Johnny Cash one minute, then Lynyrd Skynyrd or Elvis Presley the next. As Coleman insists, what's most important to the group is making music that resonates.

"Most of the time we're not setting out to write a worship song… or anything like that," he tells GRAMMY.com. "We don't want to be a Christian band or even a country band — we just want to make music, plain and simple."

Born out of a cover band in 2016, The Strays grinded it out for years in bars around Mobile and the Deep South before hitting a breakthrough with 2022's independently released Moment Of Truth. Their budding acclaim led to opening slots with Elle King, Dierks Bentley, Eric Church and Old Crow Medicine Show, their first chart hit with "Wondering Why," and debuts on the Grand Ole Opry stage and on national television. And just one week before Made By These Moments arrived, the group were featured on the star-studded soundtrack for Twisters.

That all culminated in them signing with RCA Records in April 2024 and working with producer Dave Cobb, who helped the Red Clay Strays deliver their most polished and faith-focused set  to date with Made By These Moments. Its 11 songs serve as a blueprint of how with hard work, patience and God in your corner no obstacle is too big to overcome. The band navigates everything from questioning oneself ("No One Else Like Me") and searching for purpose ("Drowning," "Devil In My Ear") to discovering and becoming grounded in faith ("I'm Still Fine," "On My Knees") and growing into the best version of yourself as a result ("Made By These Moments," "God Does"). 

"We're not trying to go out and preach to anybody, we're just singing songs about our lives and people can listen if they want," Coleman asserts. "I've had many people who aren't spiritual or religious come up to me and say that our music has gotten them to think and reevaluate how they go about their daily lives. That's all you can ask for if you're trying to inspire or help people with your music."

Before the release of Made By These Moments, The Strays' Brandon Coleman and Drew Nix spoke with GRAMMY.com about how faith influences their music, the album's range of inspirations, and more.

You guys haven't shied away from making your faith a focal point of your music. Mind telling me about the roots of that influence, particularly with how it relates to the 11 songs on this new record? 

Brandon Coleman: I mean, God's really the driving force in all of it. He's why we do this. Everyone's wondering why they were put here on Earth and what their purpose is. Once you're able to get an idea for what that is, that's often what you end up doing. Our music is about our lives and living on the road, and God is a big part of all of it.

Drew Nix: When God gives you a gift you have to use it or it's wasted, right? The biblical things we talk about in our music are lessons that we've learned growing up. It's such complex and simple truths all wrapped into one, which makes it really easy to write about. There's victory and strife and everything else you go through in life. It leaves us thanking God at the end of each and every day for giving us another one.

It sounds like rather than faith seeping into music that it's simply been ingrained in your DNA long before you started making music? 

Coleman: Exactly. We're always looking to put God above ourselves.

Nix: When I'm writing songs like "Drowning" — a song that came about when I felt like I couldn't get ahead in life because I kept slipping and falling — it's very therapeutic too. 

Another example is "Devil In My Ear," which sees me dealing with a close friend and someone I considered to be family's suicide. It was our drummer's brother Jacob, who was an unofficial member of the band and one of the best musicians we knew. He took his own life in 2020, so that song was me trying to deal with that. The only thing I could come up with at the time was that the devil got in his ear because he really had it made — he was an incredible musician with a loving family around him. It just didn't make any sense to me until writing that song.

I obviously hate to hear that, but at the same time I firmly believe that one of the most beautiful things about music is the positivity that can radiate from even the most tragic of circumstances. It's a way to make others who've gone through similar experiences feel seen and not alone, easing the weight of the trauma that comes with it in the process. "Devil In My Ear" is a perfect example of that. 

Nix: Not feeling alone, that's a huge part of it. On a related note, the song "Made By These Moments" touches on exactly what you're talking about. We go through all these horrible and beautiful things in our lives that make us who we are. It's also one of the songs that finally brings up the mood on the album as well. 

Coleman: That's the beauty of this album. It starts out great a lot of times like life does. It starts with a good rock song before taking you down into the dark places that we all go to with "Drowning" and "Devil In My Ear." Then you come out of that with "I'm Still Fine" realizing "Oh crap, I'm down in the valley but I'm still fine because God's still got me" ahead of rejoicing with "On My Knees," and realizing that getting through all these bad things is what makes us stronger with "Made By These Moments." Closing out the album with a perfect ending is "God Does," a gentle reminder that even though you may not think something is possible, God does.

It's like a roller coaster ride to redemption. 

Coleman: Addiction and survival, too — all of it.

You mentioned "Drowning" a moment ago, which is one of my favorites on the record due to both its message and Brandon's high-powered vocals — particularly during its chorus — that remind me a lot of Chris Stapleton. It's a little bit country, blues and rock with a heck of a lot of emotion. 

Coleman: Thank you. "Drowning" was originally written in A, so we were singing the chorus, but it wasn't quite up there note wise. I felt like we had a lot of room to keep going up, so we walked it up to a C so it has more of that screaming vibe to it, which definitely helped the song. 

It feels fitting and reminds me of when we were struggling in 2020 and 2021 and were driving for Uber. I finally scraped up $100 to get my car's oil changed. It was supposed to be free, but the place ended up charging me a $40 fee before convincing me to buy new air filters too, to which I said "go ahead" because I just can't say no. What was a $15 air filter I ended up getting charged $75 for, taking my would be free oil change up over the $100 I'd just saved up. 

I remember leaving there, going back home and kicking this drawer that I'd picked up on the side of the road. I ended up breaking it and screaming at the top of my lungs, and that's what the big notes in the chorus of "Drowning" remind me of. 

If it makes you feel any better I literally got my car's oil changed this morning and they got me on the upcharge for an air filter too. 

Coleman: It does, but it hits a lot different when you only have $100 to your name.

Absolutely. And thankfully that's something y'all aren't having to deal with anymore. What a difference a couple years can make! 

Coleman: Even going through all that, despite how hard it was, we were never hopeless. We all just looked at it as going through a battle. We still had faith in God all the way, even when it was very hard to, which was very scary and stressful. People always say to never quit and to never give up, and that's turned out to be true for us too. 

That leads me to "God Does." There's a lot of rockin' tunes on this record, but that song stands out from the rest, both in its message and the stripped back format you recorded it in. Was it always your plan to compose it like that or did you ever have a plan to give it a similar treatment to the rest of this project? 

Coleman: I can't speak for Drew, but that was always my idea of how it would be. Working with Dave, he has his ideas too, and in the studio they all mesh together as we figure out and create it. He changed the whole beat up on ["God Does"] and gave the song more of a waltz-y feel that completely transformed it for the better, in my opinion.

Nix: I had a country-er imagination for it when I wrote and demoed it. I bought a pedal steel about a year ago to have it go more of the country route, but the way it turned out is better than I ever imagined.

Coleman: I like the way Drew came up with it, too. I actually still have that work tape on my phone because I remember how that song helped me out during that time of uncertainty and struggling. We played a show in Baldwin County [Alabama] somewhere and were using Jacob's old bus because our's was broken down. One of its tires went flat, so we had to leave it at the venue. Drew and I returned the next day to change the tire so we could get home. It was then that Drew told me about this new song he'd just written called "God Does." 

I don't know if he knew, but I was sitting there just trying to hide my tears as I listened to it because of being in that time of life of not knowing what to do and feeling hopeless. That song came along at a very good time and really changed my trajectory mentally.

The GRAMMY Awards and the Summer Olympics are unarguably the pinnacles of their respective fields. Indeed, most recording artists dream of making an acceptance speech for their magnum opus during the biggest night on the music industry calendar, while athletes competing in any of the Games’ 32 different disciplines are continually motivated by the lure of the podium.

But how often have the two intertwined since the first GRAMMY ceremony took place a year before Rome 1960?

Well, perhaps more than you think. Sure, the musical efforts from basketballers Shaquille O’Neal (gold at Atlanta 1996), Kobe Bryant (gold at Beijing 2008 and London 2012), and Damian Lillard (gold at Tokyo 2020) might not have registered with the Recording Academy. Likewise, those from track and field hero Carl Lewis (nine golds and one silver from four consecutive Games), light middleweight boxer Roy Jones Jr. (silver at Seoul 1988), and near-superhuman sprinter Usain Bolt (eight golds from Beijing, London, and Rio 2016).

But there are a handful of sportsmen (sadly, not yet sportswomen) who have competed for both gold medals and golden gramophones. There are also pop stars who have attempted to capture the blood, sweat, and tears of the quadrennial spectacle in musical form — whether as an official anthem, television theme, or simply a motivational tool — and been rewarded with GRAMMY recognition for their efforts.

With the Olympics’ return to Paris just around the corner (July 26-Aug.11), what better time to celebrate those occasions when the Games and the GRAMMYs align?

It seems fair to say that Gloria Estefan, the Cuban hitmaker who helped to bring Latin pop to the masses, and avant-garde eccentric Björk, wouldn't appear to have much in common. They have, however, both received GRAMMY nominations in the Best Female Pop Vocal Performance category for their respective Olympics themes.

Estefan was recognized at the 1997 ceremony for "Reach," the gospel-tinged power ballad that embodied the spirit of the previous year's Atlanta Games. Iceland's finest musical export picked up a nod for "Oceania," the swooping experimental number she co-produced with Warp label founder Mark Bell which helped to soundtrack the opening ceremony of Athens 2004. And both went home empty-handed, the former losing to Toni Braxton's "Un-Break My Heart" and the latter to Norah Jones' "Sunrise."

The incomparable Whitney Houston might not have added to her GRAMMY haul at the 1989 ceremony — Tracy Chapman's "Fast Car" prevented her from converting her sole nod, Best Female Pop Vocal Performance, into a win — but she still stole the show. Houston owned opened the 31st GRAMMY Awards with a performance of "One Moment in Time," the nominated track that had defined NBC's coverage of the Seoul Games.

Co-written by Albert Hammond, produced by Narada Michael Walden and featuring the London Symphony Orchestra, the UK chart-topping single certainly had a first-class pedigree. But it was Houston's lung-busting vocals that made the torch song such a sports montage favorite. The iconic diva once again stirred the emotions on the music industry's biggest night of the year with a rendition that's since become a staple of her many hits collections.

Read more: Songbook: A Guide To Whitney Houston's Iconic Discography, From Her '80s Pop Reign To Soundtrack Smashes

Shakira fought off some interesting company to win 2001's Best Latin Pop Album GRAMMY. Alongside records from Luis Miguel and Alejandro Sanz, the category also included Christina Aguilera's first Spanish-language affair, and a bilingual effort from champion boxer Oscar De La Hoya.

The American became a national sensation overnight when he won the men's lightweight boxing gold at the 1992 Barcelona Olympics. But despite new material from seasoned hitmaker Diane Warren and a cover of Bee Gees' classic "Run to Me," his 13-track self-titled debut didn't exactly set the charts alight. Despite the GRAMMY nod, De La Hoya hasn't entered the recording studio since.

But when it comes to GRAMMY-nominated boxers, then the man who famously floated like a butterfly and stung like a bee is undoubtedly the don. Shortly before he changed his name from Cassius Clay to Muhammad Ali, the light heavyweight gold medalist of the 1960 Rome Games was recognized for his amusing repartee in the Best Comedy Performance category. Hailed by some as a progenitor of the rap artform, I Am the Greatest lost out to a man slightly different in stature: portly parodist Allan Sherman.   

And the sporting icon also had to experience another rare defeat 13 years later when his reading of The Adventures Of Ali And His Gang Vs. Mr. Tooth Decay lost out to Hermione Gingold & Karl Böhm's Prokofiev: Peter and the Wolf/Saint-Saëns: Carnival of the Animals in 1977’s Best Recording for Children.

Legendary composer John Williams is one of the most-nominated artists in GRAMMY history having amassed 76 nods since his work on detective series "Checkmate" was recognized in Best Score Soundtrack for Visual Media in 1962. Two of his wins in this remarkable tally have been Games-related.

In 1985, Williams won Best Instrumental Composition for "Olympic Fanfare and Theme," which he wrote and arranged for the Los Angeles Games the year prior. In 1989, the conductor received a nod in the same category for "Olympic Spirit," another majestic instrumental produced for NBC’s coverage of Seoul '88.

Interestingly, Wiliams isn't a particularly avid sports fan, but as he told The New York Times, he can still relate to those going for gold. "The human spirit stretching to prove itself is also typical of what musicians attempt to achieve in a symphonic effort."

Magic Johnson’s Educational Guide Wins Best Spoken Word Album  

Basketball appears to produce more aspiring musicians than any sport. Marvin Bagley III, Lonzo Ball, and Brandon Clarke are just a few of the NBA names to have released albums in the last few years. But the only time a hooper has been recognized at the GRAMMYs is for an audiobook.   

The year before guiding Team USA to the men's basketball gold at Barcelona 1992, Magic Johnson had bravely revealed that he'd contracted HIV, defying the stigma that surrounded it at the time. The year after his Olympic triumph, the iconic shooting guard was honored for joining the fight against the disease. Johnson won the Best Spoken Word or Non-Musical Album GRAMMY for What You Can Do To Avoid AIDS, a compassionate guide designed to educate the youth of America whose proceeds went to the sportsman's eponymous foundation.   

Based on the real-life exploits of British runners Harold Abrahams and Eric Liddell at the 1924 Paris Olympics, period drama Chariots of Fire won Best Picture at the 1982 Oscars. But it’s the titular number from Vangelis' anachronistic synth-based score that remains its crowning glory.

First played as the aspiring Olympians train beachside in the slow-motion opening flashback, the instrumental not only topped the Billboard Hot 100, it also picked up a GRAMMY nod for Record of the Year. "Chariots of Fire" has since become synonymous with the more modern iteration of the Games, appearing in the BBC's coverage of Seoul '88, gracing the start of the men's 100m final at Atlanta '96, and perhaps most famously of all, being performed at London 2012's opening ceremony by none other than Rowan Atkinson's rubber-faced buffoon Mr. Bean.

Read more: 10 Essential Vangelis Albums: Remembering The Electronic Music Pioneer